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I've decided to re-write this little tutorial for those who are interested in a more "Mac Feel" on the gnome Desktop.

First, open terminal and write:
apt-get source nautilus
sudo apt-get build-dep nautilus

The build-dep command will install all the build dependencies for nautilus.

In nautilus sorce folder you just downloaded, navigate to: src\file-manager.
Find the file named: fm-desktop-icon-view.c

Open with your favorite Text Editor and find the line:
real_supports_labels_beside_icons (FMIconView *view)

Below it you'd see this line: return FALSE;
Change it to:
return TRUE;

On GNOME3 and Nautilus 3.x+ search for the file: /src/nautilus-desktop-icon-view.c in the directory you just downloaded.
And look for this line: "supports-labels-beside-icons", FALSE,
Change FALSE to TRUE

Save the file.

Now start to compile Nautilus.
./configure --prefix=/usr
make
sudo make install
killall nautilus
Alt+F2
nautilus

Choose Text Beside Icons in the Preferences.
Nautilus now should draw Text beside icons on the desktop.

You can also tell Nautilus to count the items in each folder, to do this go to: Edit>Preferences>Display Tab > Under It choose 'size' in the first box. Or whatever option you'd like.

If you'd like to change the color of the 'Items count' or whatever, It's part of the gtkrc in the theme itself. Every theme differs, so you have to look for the color settings yourself, in mine It was:

NautilusIconContainer::highlight_alpha=160

NautilusIconContainer::dark_info_color="#"
NautilusIconContainer::light_info_color="#"

The second line is responsible for the color on the desktop and the first one on color in the file-manager.

But in most themes It should be under: style "desktop-icon"
And look like this:

NautilusIconContainer::normal_alpha = 0
text[NORMAL] = "#000000"
NautilusIconContainer::frame_text = 1
class "GtkWidget" style "desktop-icon"


Should work on both GNOME2 and GNOME3.
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In our continuous effort to improve the deviantART experience, we're publishing weekly Site Updates to keep members informed and to gather feedback. Below is a list of recent changes to the site, bug fixes, and feedback that was brought up by members in the last Site Update.

What's New


More Like This (Beta)

DeviantART is proud to announce More Like This - a new way to explore deviantART. When you find a piece of artwork that you love, More Like This surfaces related artwork, artists, and Collections. With More Like This and our other new browse upgrades, deep-diving through the deviantART community's diverse collection of over 200 million deviations just got better.



Enhanced Browsing

We've improved the left-hand navigation bar to include Popular and Newest options! For deviants who like their art to be larger than life, the new Full View mode allows deviations to be browsed through at a larger scale. Full View mode also provides the ability to favourite, collect, view comments, and participate in the discussion right from the browse page.


In addition, our new Show More button allows you to scroll endlessly while browsing More Like This results. For those that prefer the original pagination interface, we've added a Page Settings option to toggle between both modes. Your setting will be preserved as you browse.

Selection Tools in deviantART muro

In addition to some behind the scenes changes made to make deviantART muro to make it more stable, we've added several new selection tools!
  • Elliptical selection options and a magic wand tool have been added to the marquee tool. Once the marquee menu button has been selected, the new options will appear in the bottom bar.
  • Deviants can now create a selection based on the transparency of a layer by command/ctrl+clicking on that layer.
  • Autosave will trigger more frequently, to ensure that your hard work is retained.
  • Some behind the scenes changes were made to make deviantART muro more stable.
  • In addition to the options added to the marquee menu, "select by color", "expand selection", and "contract selection" tools have been added to the Edit menu.


To give the new deviantART muro tools a try, go to deviantART muro!

Blockquote Tool in Sta.sh Writer

You can now easily add quotes to your literature and Journals using the brand new blockquote button on the Sta.sh Writer toolbar!


Change Log

  • If one deviant's Collection was added to a different deviant's Collection, it could not be removed from the Collection it was added to. Fixed by shahyarg
  • It was not possible for Group admins to change some invitation settings from the defaults. Fixed by randomduck
  • Removing a deviation from a Gallery folder would hide the links beneath the thumbnail until the page was refreshed. Fixed by shahyarg
  • Film deviations were not allowed in Scraps. Fixed by shahyarg
  • On the Notes page, the select dropdown was showing in the wrong place. Fixed by shadowhand
  • On deviation pages, the link that showed which deviants favourited the deviation sometimes did not work. Fixed by shahyarg
  • The "Show All Groups" link on deviations was not working under certain circumstances. Fixed by shahyarg
  • "Failed to process transaction" errors occurred when withdrawing earnings as deviantART Points or via PayPal, followed by a temporary disabling of PayPal withdrawals. Fixed by yury-n
  • The PDF viewer would vanish if any of the header menus were hovered over. Fixed by shadowhand
  • The shopping bag icon and "Buy this Print" text in the new Prints menu on deviation pages were not clickable. Fixed by shadowhand

deviantART muro


  • During Redraw playback, there were cases where the speed slider would display as slow, but the video was actually playing at fast speed. Fixed by mudimba
  • In comment drawings, deviantART muro could infrequently get stuck on the eraser tool and prevent drawing. Fixed by mudimba
  • Several cosmetic layout issues existed that would be visible when buying new brush packs. Fixed by mudimba
  • Sometimes a new layer could be created, even when interaction should have been disabled by a modal window. Fixed by mudimba

Sta.sh

  • Stacks shared with other deviants wouldn't display file descriptions. Fixed by drommk
  • While renaming a stack, clicking on the title of another one to rename it would cause an error. Fixed by kouiskas
  • Editing Journals submitted to the Journal Portal would send new notifications to the Message Center, even when the "This is a minor edit" option was selected. Fixed by drommk

Sta.sh Writer

  • Literature thumbnails wouldn't stop scrolling when they reached the end of the excerpt. Fixed by kemayo
  • It was possible to break elements out of journal entries with advanced CSS. Fixed by kemayo
  • Several behind the scenes improvements were made to the way Sta.sh Writer handles typing and loading drafts. Fixed by kemayo and inazar

Your Feedback


Thank you for the feedback left on last week's update! Here's some of the feedback you left for us:
  • Many users made suggestions for improvements to the mobile site that they'd like to see implemented.
  • The most common suggestion we received regarding the new mobile site was for an easy way to submit art from mobile devices. 
  • Deviants would like to add thumbnails to their comments. Suggested by Magical525
  • Some members would like to be able to apply the same keywords and descriptions to multiple files at once. Suggested by frisbii

Discuss!

Browse Enhancements 
How do you feel about the new browse enhancements? Do you prefer endless scrolling or the traditional page browsing, or do you swap between both? Which thumb view do you prefer to use: wall of thumbs, grid of thumbs, or full view?


Lightbulb Have a suggestion, idea, or feedback? Leave a comment on this article!
Lightbulb Want to keep track of known issues? Check out our Status Forum!
:bug: Find a bug? Report it to the Help Desk(Be as detailed as possible!)

In our continuous effort to improve the deviantART experience, we're publishing weekly Site Updates to keep members informed and to gather feedback. Below is a list of recent changes to the site, bug fixes, and feedback that was brought up by members in the last Site Update.
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If you use Networkmanager and multible network connections in BE::Shell it could be that you are missing an applet for it.


But you can take network manager from GNOME (tested in Kubuntu 12.04):

1. Install network-manager-gnome
2. run nm-applet from runner (or krunner (alt+F2) if it is not disabled)

that's it! If you test it in other distributions, please give me feedback!

  • Listening to: to the world
  • Reading: this here
  • Watching: you!
  • Playing: no
  • Eating: no
  • Drinking: tea
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Skin by CypherVisor


The long awaited embeddable JOURNAL CSS progress-bars are here in the house!

Red color

Yellow color

Green color

Blue color

Purple color

Orange color

Pink color

White color

Cyan color





Grab it here

Journal CSS Progress-bar Source Code by CypherVisor



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1. Install packages (in terminal):
     sudo apt-get install git autoconf libtool libwnck1.0-cil-dev libwnck-dev intltool libdecoration0-dev gawk
2. Download emerald
     cgit.compiz.org/fusion/decorators/emerald/snapshot/emerald-0.9.5.tar.gz
3. Install, in terminal (if you download to Downloads folder)
     cd Downloads
     cd emerald-*
     ./autogen.sh && make clean && make distclean && ./configure --prefix=/usr && make && sudo make install
4. Run:
     emerald --replace

ADD!
RU version by me - fucknhack.blogspot.com/2012/03…

JP version by sakuraiyuta (check for fix Segmentation fault!) - sakuraiyuta.tumblr.com/post/22…

how-to fix Segmentation fault by mirbaharobert - comments.deviantart.com/1/2928…

more detail how-to by loki079 - comments.deviantart.com/1/2928…
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Bloody Crowns, Diaphanous Gowns

Thu Jun 12, 2014, 7:00 PM











The current popularity of the bloody and salacious Game of Thrones and a host of paler imitators may have roots in Cate Blanchett’s Oscar-worthy performance as the historical Elizabeth (1998), the Queen who was perhaps the most important ruling Royal, King or Queen, in British history.







The politics and imputed romances of her reign embroiled both her throne and bedchambers. Released from her half-sister’s dungeon to go on to successfully stabilize a country wracked by religious war, all the while being threatened by Spanish invasion from without and overthrow by the plots of her male “suitors” from within, her life was epic and an intimate human drama rarely captured in fiction.


Then the British import The Tudors (2007–10), brought us an updated lusty beautiful/horrifying portrayal of King Henry VIII, this time focusing on the athleticism of his youth—before he was gravely injured (crushed under a horse while jousting) and became the iconic morbidly obese figure we’re more familiar with.



The Tudors casting of the svelte and smolderingly sexual Jonathan Rhys Meyers (as well as the alluring Natalie Dormer as Anne Boleyn) marks one of those important departures from the collective story we all carry in our heads, created from childhood on through college and beyond. We call this general narrative “history.” We become incensed over what we feel are profane depictions of our heroes and their beliefs and intentions—as if we could ever know what roiled the mind of a monarch in 1532. Protestants are understandably upset when the Reformation is de-emphasized as “back story,” the better to focus on a King maneuvering wickedly and recklessly in order to secure a divorce both secularly legal and religiously Hell-free, the better to pursue the super hot girl of his dreams.


There is Jeremy Irons in The Borgias as Pope Alexander VI in the late 15th Century committing every possible sin and debauchery that moderns minds could project or imagine for any man of power, much less a Pope surrounded by a family and College of Cardinals just as ruthless with privilege and wealth. Watching this re-casting of the past you need to pinch yourself to remember that the action is set within the Roman Catholic Church which was then and apparently still may be a political and social quagmire. The critics favor a modern French production of this story, Borgias, where they cavort and garrote in the same fashion. This version’s episodes are still in production.
















The Nixon Presidency (1969-74) has long been held in the collective American consciousness as the high-level mark in Presidential criminality. But only fringe conspiracy theorists believe that the Nixon ninjas actually murdered political opponents and witnesses. Yet that’s currently accepted as “believable” plotting in popular dramas like Scandal and especially the American remake of House of Cards, in which Kevin Spacey’s deranged politician, Frank Underwood, has no problem with assassination as a method to attain his vengeance and promote his personal advance.


And that’s what it is all about on these current shows: politics as a means to personal revenge, enrichment, and power for sheer power’s sake. The good ol’ days of Henry’s romancing of Anne, let the world burn, seem naïve now.




Do viewers really accept this current storytelling as credible, that this stuff is really going on in the White House, in the royal court of the Tudors or at the Vatican or is this just “political science fiction” grounded in reality but played out into another world altogether?




Game of Thrones, adapted from a series of novels still being completed by fantasy writer George R.R. Martin, might just be the craziest-ever mash-up of wildly divergent time periods, some actual historical events, dragons, mysticism, warring Kingdoms of tangled bloodlines, political marriages, incest among the nobles all soaked in the blood of a thousand traitorous sword-thrusts and festooned with heaving bosoms in (and often out of) designer silks and satins. The interior and architectural decoration of the times of this tale seems to have been informed equally by combinations of ancient Babylon, Egyptian archeology, Conan the Barbarian and Victoria’s Secret. Ruminations by grizzled older warriors trudging toward the next battle touch upon the great themes of crime & punishment, political corruption, religion, loyalty and true brotherhood—but never rise above standard wooly maxims. Never has so much superlative acting and massive production value been expended on comic book level human drama.


















“Thrones” is a new extension of Hollywood storytelling nonsense with every scene crafted to push my buttons in some pleasurably cathartic manner.







Worries over what conservative or liberal or sexist or pro—or anti-gay messaging is going on here must be laid aside as there is no algorithm detailed enough to explain what any of this story really “means.” It really is just a “game” to be won or lost by its ever-shifting rules. Being naked in its intent to be no more than sheer entertainment makes the series immune from serious academic, philosophic, historical or literary criticism. Game of Thrones frees us to enjoy it for what it is: a feast for the senses on the way to the next big lunatic lunge on the narrative rollercoaster. A sampling of tributes to the show as imagined by its many deviant fans is a testament to what will go down as one of the most marvelous box of chocolates one could ever hope to have opened. It’s undoubtedly not good for us—but it’s just oh, so good.


I wait every Sunday here in Los Angeles, attending screening parties when I can, for this glorious, masterfully crafted, and richly creative tour de force which acts as a deliciously sweet nightcap after another in an endless series of 80 hour work weeks.


How about you?
















withWilliam Simpson






1.



What is the most important information that needs to be expressed on storyboards at this point in production?  This information usually flows from who (director/editor) to whom (set designer, etc)?





William Simpson:

In prep, the storyboards are full of the essential camera movements and green screen CGI elements. As always, Storytelling is the essential element, something that will be understood by the various departments, from Director of Photography and the camera dept, through the VFX green screen CGI dept for visual composites through to producers, determining what can be afforded to be shot.


I work directly with the director, interpreting his/her ideas, and sometimes with the line producer, working out the logic of the storytelling to give us a 'heads up' as to what may cause problems for the actual shoot.


The information flow, is usually from Director, to me, then on to production, before they distribute the sequences to all others who may need them.









2.



Is there much "pre-editing" being done in the sequencing and layout of scenes?  And if so, what is usually being emphasized by directors, editors and others in their input?





William Simpson:

There's quite a bit of pre-editing being achieved in the sequences, the process enabling a ' nailing down' of shots, especially for the cost constraints. Part of what we determine in prep, is what is logical and artistic to film, and then combine it with the shot list allowance of what we feasibly can actually have, What can be practical live filming, and what has to be an VFX shot.










Bio



William Simpson is an international artist, whose career began in comicstrip art, working on a range of character icons: Judge Dredd, Rogue Trooper, Batman, Transformers, Hellblazer, Tyranny Rex, Aliens, and Vamps. Now he's primarily in movies.


In recent years he has developed his work in the film industry providing conceptual art and storyboards for a variety of feature films, such as: Reign of Fire, directed by Rob Bowman, Freeze Frame, directed by John Simpson, Neil Jordan's Breakfast on Pluto, and most recently, Game of Thrones for HBO, David Gordon Green and Danny McBride's Your Highness for Universal, Lord Richard Attenborough's 2006 production, Closing The Ring and the Tom Hanks produced, City Of Ember. Currently on Game of Thrones for HBO.












3.



Is there a tremendous amount of detail on storyboards on a big production like Game of Thrones that wouldn't exist with a more modest production—or is the functionality of deciding how a narrative is going to be told the key consideration always in any production?





William Simpson:

I think functionality of narrative is pretty essential, but, there's a lot of storytelling, good directors know, and don't need to be visualised in a board first, but on a show like Game of Thrones, the details in what will have to have CGI elements, a primary concern for compositing real with unreal. We’re creating Westeros here, and we have to see what can be achieved by drawing it first. It must be considered worthwhile as I've been there for 5 years already.









4.



Is there a special feeling you get from being so deeply involved in the internal "DNA" of what is obviously going to be an important landmark series?





William Simpson:

I think the delight is in watching so much of what you've done, realised on screen. Game of Thrones is a vast production and requires quite a lot of prep over the ten episodes in a season, and so many drawn sequences turned into film footage is always a buzz. It's definitely great to be an essential part of fandom's fav series.











We’re creating Westeros here, and we have to see what can be achieved by drawing it first.













5.



How did you come to get your job doing storyboards for Game of Thrones? Is this the usual pathway to being considered for such jobs, or are there others for interested deviants to pursue? What can you tell artists who want to do storyboarding as a dream job?  What should they be doing?





William Simpson:

This is a really big question and there is a massively convoluted answer to it. You see, there's a lot of being in the right place at the right time, and having 20 years of comic strip experience doesn't hurt!


I was brought in to do some concepts, while I was working on Your Highness. I wasn't told what the project was, just given a few key pages of script, and asked could I come up with some castle images and knights and a few interesting location shots, one being the beheading scene at the beginning of the story. These images were then sent in a package to HBO, and they seemed to help them decide on coming to N.Ireland to film with their production base. When I was told we had the series, while still on Your Highness I asked my producer friend Mark Huffam, " do I have a job then" haha, to which he said "of course".











I asked my producer friend Mark Huffam, “do I have a job then” haha, to which he said “of course.”
















William Simpson:

After I finished my concept art on "Your Highness" ad did a day of 2nd unit directing for it, I then moved on into Game of Thrones and started conceptualising weaponry. I created the designs for all the hero weapons, at that time, 'Ice', 'Needle', 'long claw', etc, were mine, as well as developing the very first set of images of the "White Walkers", "The Godswood Tree", "Cersei's" carriage, and "The Three Eyed Ravens". I helped on some of the armour and helmet elements for Costume. I did a pretty neat version of the 'Hound', pretty close to what was made. After that, I went on to Storyboarding.


The comic side of me has generated a diverse artist, so having been recognised as such, I was used properly to generate ideas in the beginning. I've since storyboarded all four seasons, and will be getting into the fifth, coming this year.


It's not been the usual pathway, but then I don't think there actually is a 'usual'. Sometimes, I pitch myself at films, if I know in advance they're happening, though now, most of my time, I'm called up and asked, when am I available. It's nice when you get a call, which has a value on what you do as an artist with experience.


For anybody wanting to do any form of art, including storyboarding, you have to be in love with drawing, and storytelling. You have to have a perverse nature that allows you to work long hours drawing as a job, and then finding yourself also drawing for fun. You have to love this pursuit. No half measures. I try to bring all the sensitivity I had in comic strips, into what I do in storyboarding, though some may do it as a job, I tend to come at it as a solver of problems in storytelling and somebody who says, 'great, I'm going to be drawing all day!' No fear! It's another great mode of self expression.











For anybody wanting to do any form of art... You have to love this pursuit. No half measures.















For The Reader





1.

Would you assign world class literary and philosophical value to Game of Thrones?  If so, why?




2.

Is there an unspoken “agreement” between film producer and film consumer as to the intended “pure entertainment” vs. “think” purpose of a film experience?




3.

Are you annoyed when historical figures are portrayed in ways that greatly diverge from the picture of them you have always had in your head?  Or do you find this refreshing and creative, even if involving massive “poetic license?”




4.

Do you think moviemakers have a duty to portray historical figures as they were, or is it enough that their life events are accurately recorded, as well as their beliefs and words.  Is it OK to cast Peter O’Toole as Lawrence of Arabia when the real Lawrence was only 5 feet tall?  Is it OK to give the young Henry VIII six-pack abs?




5.

Do you think fantasy and science fiction stories should steer clear of politics generally and stick to common human questions of love, loyalty, valor as motivators for characters?  Does the feeling that the author is subtly pushing his or her political or social beliefs on the reader, no matter how delicately, a turn-off for you?  Or is this something writers should never hide in their art?




6.

Do you think all the elements of Game of Thrones that could be found by individual viewers to be offensive, sexist, racist, homophobic, pro-violence, are “forgiven” by the utter outrageousness of the story in general?  Should there always be a place for politically incorrect fun?











The current popularity of the bloody and salacious Game of Thrones and a host of paler imitators may have roots in Cate Blanchett’s Oscar-worthy performance as the historical Elizabeth (1998), the Queen who was perhaps the most important ruling Royal, King or Queen, in British history. The politics and imputed romances of her reign embroiled both her throne and bedchambers. Released from her half-sister’s dungeon to go on to successfully stabilize a country wracked by religious war, all the while being threatened by Spanish invasion from without and overthrow by the plots of her male “suitors” from within, her life was epic and an intimate human drama rarely captured in fiction.

Writers: techgnotic 
Designers: marioluevanos 

For more articles like this, visit depthRADIUS
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The Devil Is In The Detail

Journal Entry: Mon Feb 11, 2013, 7:33 AM


I'm taking my time on the Smoother Plasma theme, trying to get the more finer details right everywhere and making sure it looks right for KDE 4.10.

Here is the add widgets dialogue.



Here are the tasks.


Of course the details need to be smooth so I've paid attention in keeping the theme looking smooth all round and consistent. Hope you like it so far. :)

  • Listening to: Digitally Imported - Vocal Trance
  • Drinking: Coffee, always coffee
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Dante Alighieri
by anakalivas



Oct 17, 2012 by techgnotic

Sometimes in youth we play crazy mind games. One gruesome game was trying to think of the worst way to die. Or even better, the "which would you choose" version of the same conceit. Another was what would be the worst torture to endure. If there is one international touchstone that best captures youthful fears and wonders in speculation of what lies beyond the veil of death and awaits as possible punishment for our sins, it must be - to the few who have actually read it to the millions who "know" it – "Dante's Inferno." Who does not shiver at the thought of being lost somewhere in the "Nine Rings of Hell?"



Who does not shiver at the thought of being lost somewhere in the "Nine Rings of Hell?"



True nastiness reigns on every single one of the nine levels.


Actually, the nine circles of Hell ("Inferno") are detailed only as the first third of Dante's first great masterpiece of Italian literature, "The Divine Comedy," which leads the reader on through Purgatory and then eventually into Heaven ("Paradiso"). This epic poem was like the first self-help manual, describing the how and why one falls into Hell and how to live a God-fearing life guaranteed to get you into Heaven. But over the centuries, as the fearsome images illustrating this piece mightily attest to, it is the horrors of the Inferno that have remained burned into the fearful collective consciousness of a segment of our society.













There are so many amazing fantastic images described in The Comedy for artists to bring to life:


The three-headed hell-hound Cerberus; the river Styx with its surface a roiling morass of damned souls fighting with each other; the dragon wyvern Geryon with human face, lion paws and stinger in tail. The center of Hell, usually depicted as a place of eternal fire, is in Dante's vision a place of perpetual ice. Satan himself with three his faces (red, black and yellow) and three pairs of wings, remains forever frozen waist deep in the ice.




















There are many misconceptions about Dante's epic prescription for salvation.





One needn't be the ultimate sinner to go to Hell, nor be a saint to go to Heaven.



One needn't be the ultimate sinner to go to Hell, nor be a saint to go to Heaven. Hell, I think according to Dante if you just remember to pray for forgiveness as you lay dying, you start your post-life existence in Purgatory, getting to skip all the tortures of all Hell's nine circles. In Dante's theology, the anchoring basis for all "sin" is disbelief. So if the saintliest of human beings alive on the planet chooses atheism, eternal damnation and hideous torture awaits. If a hitman sincerely prays to God, confessing his sins and swearing his belief in God, Paradise will be his eternal home after a brief detention in Purgatory.


So maybe this is why this is the one narrative, the deliriously frightening epic fairy tale, that remains lurking in the mind's shadows well into adulthood. Dante has proposed to us a cradle to grave gamble. If the Inferno is only a fairy tale, an allegorical warning against disconnection from the divine in life - then the stakes are not so high. But if Dante's vision is somehow "true" and demands belief – well, that's a whole other adult mind game with stakes that could not be higher.







I did as much research as possible with the time allowed. Do we have any scholars out there who might shed an even more educative light on the subject? Has anyone read the Divine Comedy recently? Would love to hear opinions, analysis and corrections from those of you even more familiar with the history of this material than I.











Questionsfor the reader





  1. Does the artistic exploration of theological subjects make you in any way nervous, especially in a time when the very act of depicting one religion's god and messenger can have such great impact?
  2. Does Dante's attempt to match appropriate crimes with appropriate punishments make sense – or does the concept eternal damnation in torment ruin his otherwise equitable distribution of justice?
  3. What are an artist's responsibilities when depicting subjects sacred to some who will be seeing the resulting artwork? Is caring for even a moment about possible repercussions a form of censorship and repression against art and the artist?
  4. Do you think it's fair that remembering to pray at the last moment gets you a Get Out of Hell Free pass?
  5. Are you currently living in one of the nine rings of hell right now? What is happening there?
















Sometimes in youth we play crazy mind games. One gruesome game was trying to think of the worst way to die. Or even better, the “which would you choose” version of the same conceit. Another was what would be the worst torture to endure. If there is one international touchstone that best captures youthful fears and wonders in speculation of what lies beyond the veil of death and awaits as possible punishment for our sins, it must be – to the few who have actually read it to the millions who “know” it – “Dante’s Inferno.” Who does not shiver at the thought of being lost somewhere in the “Nine Rings of Hell?”

Writers: $techgnotic
Designers: $marioluevanos
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Zukitwo has been updated to work with 3.6. Plenty of new and old bugs plus regressions so far. Also some larger changes to certain parts of the theme.
Zukitwo-Dark has been scrapped because of lack of motivation. Gnome 3.6 is the worst Gnome release so far after all. (Apart from 3.0.)
Still not decided what to do with Zukini and Zukiwi. I like my latest creations more than Zukitwo, so maybe I'll just scrap all of them and create something new instead. (Once 3.8 is released maybe.)

I also think there are some Ubuntu specific bugs that I have no idea how to fix. I didn't take a closer look. No styles for the 3.4 components that are used in Ubuntu.
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Now KDE 4.10 has been released, the Smoother plasma theme I'm working on will be ready for KDE 4.10. There is nothing major but I'm just making sure it will offer some of the changes in 4.10, specifically new widget handle icons, adapted thin scrollbar design and some other bits that have changed.

It's nice to work on themes that don't break in every release, KDE have done a great job in preserving legacy for theme makers throughout the 4 series and extending customisation, UI options for the users. KDE4 isn't a one size fits all design, so never does it force a hard coded desktop design that's half for PC's and half for other devices(i.e like GNOME3, Windows 8, Unity does), it gives you a desktop the way you want it. KDE also made good decisions at the start of KDE4 with Kwin and desktop compositing, you don't need a separate desktop if you don't have 3D acceleration, in fact KDE4 can use Xrender software acceleration, which gives you some of the features of 3D acceleration(like translucency) and you can switch to 2D mode by just Alt, Shift, F12. KDE4 does some other nice tricks, which really are transparent to the user(pun intended) but the technology behind it is so simple, like translucent widgets without desktop compositing running at all. This is done because the widgets are graphics(SVGs) not windows or top level windows like the panel, which require compositing done by kwin for translucency. Compiz and Mutter(GNOME 3 Window manager) don't work like this, they have to drop back to another window manager like metacity for 2D mode and it's simply not a good experience to have to login to another session just for 2D or 3D mode or if your driver fails.

It wasn't all a smooth ride for KDE4 of course but their design decisions have paid off nicely, especially in regard to kwin and nicely integrates the desktop effects into KDE4 with a UI in the system settings.
  • Listening to: Digitally Imported - Vocal Trance
  • Drinking: Coffee, always coffee
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